Theater: 'Aladdin' musical favors spectacle over substance

By Iris Fanger/For The Patriot Ledger

Thursday

Jul 12, 2018 at 10:32 AM

The theatrical juggernaut that is Disney’s “Aladdin” flew into the Opera House on Wednesday night, trailing bubbles, bangles and beads, not to mention 38 tons of scenery, lights and costumes studded with rhinestones, sequins and most of the gold-trim in the universe. Not to be outdone by “Miss Saigon” with its on-stage helicopter, or Phantom’s falling chandelier, “Aladdin” boasts nothing less than a genuine flying carpet with no visible strings attached.

Based on the 1992 Disney film, and reaching vaguely back in time to the compendium of tales known as “The Book of One Thousand and One Nights,” the musical opened on Broadway in 2014 where it is still packing them in. The stage version by Alan Menken (music) and Howard Ashman, Tim Rice and Chad Beguelin (lyrics and book) places the Genie (Michael James Scott) front and center as a cross between a magician, stand-up comic and fervent but delightful master-of-ceremonies, shamelessly breaking the fourth wall between stage and audience to goad the viewers to applause. He leads us into the story of Aladdin, the penniless “street rat” (Clinton Greenspan), a sweet-natured, good-hearted and stunning goof-off who is mostly seen shirtless strutting around the stage accompanied by his band of three comrades, a middle-Eastern take-off on Robin Hood and his Merry Men ((Zach Bencal, Philippe Arroyo, and Jed Feder). But do not look for authenticity in the setting or casting, despite the backdrop of sand dunes as part of the scenery, make believe deserts of the Middle East, and the fezs worn by the men.

Like the above mentioned Merry Men, Aladdin’s side-kicks are loyal and true to their leader, even engaging in sword play to rescue him but they are nearly foiled by the villains, Jafar (a snarling Jonathan Weir), and his puppet-like sidekick, Iago (Jay Paranada). Not to worry. Given that this is a family musical (and true to the story’s origin), Aladdin wins his beloved by the end: Jasmine (the hip-swiveling, saucy Isabelle McCalla), another of the Disney princesses to set the pre-teen girl-children dreaming (perhaps to buy lots of branded merchandise). Jasmine’s father, the Sultan (the operatic-voiced Jerald Vincent) tries to make her marry a real prince, but in a fit of women’s lib she refuses to obey, holding out for making her own decision based on her one true love (cue for more applause from the audience).

If this review seems to be kidding the proceedings, it’s is nowhere as insolent as the musical itself in swiping at the original story by interpolating all sorts of contemporary and sometimes smarmy references for the laughs. Casey Nicholaw, director and choreographer (who famously staged the huge hit, “The Book of Mormon”), pushes the action thick and fast, studding it with obvious movement for the dance numbers. The Act I finale, set in an opulent cave where the lamp is stored, is presented as the Genie’s big number, “Friend Like Me,” complete with every style of dance ever imagined including a “42nd Street”-like tap number and a square dance turn. It would be fun to watch the show from back-stage to see the ensemble rush through the quick costume, wig and shoe changes.

The chief problem with this “Aladdin” is there is little heart in the relationships, unlike the emotional bonds of “The Lion King” or the sensitive love story that evolves between Beauty and her Beast. Yes, this viewer was thrilled by the special effects in “Aladdin” and the abundance of glitter, but moved by the characters or concerned by their fate? Not so much. However, to give Disney Productions credit, there is no stinting on this touring version of the show, either in gathering a highly talented cast of actors on stage, or pouring on the glitz for a series of stage pictures to remember long after the stage lights have dimmed.

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